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In March 1997, the board chair of this small steel mill is pondering how to finance the growth of his firm: either with an initial public offering of equity or a private placement of 8-year senior notes with warrants. The task for the student is to sort out the comparative advantages and disadvantages of each alternative—including valuing the possible securities—and recommend a course of action.

Boys & Girls Clubs of America (BGCs) provide numerous avenues for youth to connect, be physically active and have healthy meals/snacks. These services are often provided to low-income families at reduced cost to bridge the gap in after school and summer childcare. However, many of these clubs were forced to dramatically change their services during the COVID-19 pandemic. This study aims to examine how 13 BGCs in Texas, USA, experienced COVID-19 and persevered to provide services.

Interviews were conducted with 16 BGC leaders from 13 different BGCs. Open-ended questions were used to elicit leaders’ experiences with the pandemic, services their clubs were able to offer, barriers overcome and supports crucial to their ability to serve their communities. Thematic analysis was used to generate findings from these interviews.

BGC services changed significantly during the pandemic. Normal activities were no longer possible; however, leaders (alongside their communities) continually provided services for their families. Further, leaders reiterated the power of the community coming together in support of their families.

While BGC leaders had to adapt services, they found ways to reach families and serve their community. These adaptations can have dramatic impacts on the social and physical well-being of children in their communities. Learning from this adversity can improve services as clubs start to build back.

This study provides vital context to the changing care and setting children were exposed to during the pandemic response. Additionally, these results provide understanding of the adaptations that took place in these services.

Alien franchise protagonist Ellen Ripley (Sigourney Weaver) returns in the series' second film instalment, Aliens (1986), as ‘a full-fledged hard-body hero’ (Gallardo & Smith, 2004) to assist in the rescue of a group of colonists from an Alien invasion. As each of the rescue team's male officers are killed or proven incompetent or traitorous, Ripley quickly steps forward as the surviving group's leader and principal strategist, forming a strong emotional attachment to the colonists' only surviving child and providing structure and stability to the remaining soldiers. Her heroism is defined by her maternal leadership of the group; as the most sensible and competent member, she prioritizes the group's needs above her own. Ripley's full embodiment of motherhood amplifies her machoism and maternal control over the surviving group, allowing her to reconquer her fears of the Alien species and protect her adopted child when she is kidnapped and nearly killed by the Alien Queen. This chapter thus traces Ellen Ripley's transformation from sceptical consultant to macho-mother and its importance to the franchise's overarching narrative, as well as the evolution of the macho-mother hero in more recent science fiction action films such as Mad Max Fury Road (2015) and The Cloverfield Paradox (2018).

The image of Mel Gibson and Hugh Jackman (as Wolverine) in the Mad Max and X-Men franchises represents traditional heroic action masculinity. This chapter explores the roles of female action heroes in defying patriarchy and subverting action film genre stereotypes in male-dominated franchises. In contrast to past characterisations of Max, Mad Max: Fury Road (2015) provides both a departure to the role of Max as the male saviour seeking vengeance, by focusing on Imperator Furiosa and offering space for a portrayal of femininity characterised by inclusivity and tolerance. In Logan (2017), the decay of Wolverine is central to the narrative. Rather than the portrayal of an immortal hypermasculine hero in the previous X-Men films (with emphasis on men in X-Men), a new female mutant Laura assumes his mantle. In this context, I consider the gender roles and depiction of women in these films, and how they may be read as offering a futuristic vision of utopia in dystopian narrative worlds.

In the distant future, the social and economic systems build by the patriarchy are crumbling, causing an environmental crisis and divisive society, where people who are different (mutants) are hunted down. Mad Max: Fury Road and Logan both offer an alternative depiction of women and girls, providing new perspectives to navigate an uncertain dystopian world through fierce female warriors Furiosa, and mutant girl Laura. Ultimately this chapter demonstrates that survival in the post-apocalyptic and dystopian worlds represented in Mad Max: Fury Road and Logan may be achieved via a subversive feminist solution/utopia to the crisis of masculinity.

An amateur boxer; A professional soldier turned indestructible zombie; A fast-driving heister; A combat pilot on another world; A taco truck driver with a heart of gold; A Smurf; Michelle Rodriguez, American actress, has played them all. As Leticia ‘Letty’ Ortiz, Rodriguez' most famous role offers both a sensitive portrayal of a tenacious woman living out a tough existence who exhibits as much courage, strength, moral standing and fibre as her male counterparts, whilst also revealing a softer, emotional side and one that focuses on family and ideals of accepting Motherhood. This is what makes Rodriguez such a fascinating contradiction. Whilst much praise is heaped on other actresses for their roles in action films, this chapter will offer, through both an overview of her action-hero career and in-depth look at Rodriguez's work in the Fast and Furious films, an insight into the importance of this actress to the growing canon of action hero(ine) characters and film stars.

The iconic vigilante Paul Kersey (Charles Bronson) returned to cinema screens via Death Wish 2 (Michael Winner) in 1982 and vigilantism would remain a key theme in American urban action films throughout the 1980s. Susan Jeffords subsequently argued that Hollywood's ‘hard bodied’ male action heroes of the period were reflective of the social and political thematics that distinguished Ronald Reagan's tenure as America's President (1994, p. 22). But while Jeffords' arguments are convincing, they overlook contemporaneous films featuring female and ‘soft’ bodied urban action heroes.

The Angel trilogy (Angel, 1984; Avenging Angel, 1985; and Angel III: The Final Chapter, 1988) features three such understudied examples. Indeed, the films' diverse and atypical range of action heroes demand that they are interrogated in terms of their protagonists' gender, sexual orientation, lifestyle choices and age. Featuring narratives about the prostitutes and street folk who frequent Los Angeles' Hollywood Boulevard, the films' key characters are a teenage prostitute and her guardians: a transvestite prostitute, a lesbian hotelier and an elderly cowboy. All three films feature narratives that revolve around acts of vengeance and vigilantism.

This chapter will critically discuss the striking ways in which the films' ‘soft’ bodied and atypical protagonists are presented as convincing action heroes who subvert contemporaneous ‘hard’ bodied norms. It will also consider to what extent their subversive rewriting of typical urban action film narratives and character relations might be understood to critique and deconstruct the themes and concerns that usually characterized such films during the Reagan era.

In The Toolbox Revisited, Clifford Adelman puts forth a compelling case for student responsibility when considering differences in educational attainment. Focusing on student postsecondary school search, in this chapter the author evaluates the way in which young Black men spend their discretionary time whether in extracurricular activities or in unstructured settings. Using the National Educational Longitudinal Survey of 1988, she finds that it is not the amount of time that matters, but the fact of participation in extracurricular activities that are positively associated with the engagement of young Black men in the postsecondary education search process. While the magnitude of this positive influence varies by type of activity, young men who are not engaged in any extracurricular participation in grades 10 and 12 are significantly less likely to engage the post-search process. The difference is so stark that she suggests that independent of scholastic performance indicators, the absence of extracurricular participation for young Black men may be a signal of a lack of propensity toward postsecondary education.

Responding to the increased visibility of populist demagogues in the critical and cultural discourses of contemporary Western society, recent activity within the academy has sought to clarify, develop and (re)define populism as a phenomenon. Via analyses of Aliens (Cameron, 1986), The Running Man (Glaser, 1987) and Robocop (Verhoeven, 1987), this chapter draws upon these conceptualisations to revisit a sample of action heroes from the eighties action cinema. Exploring the intersection of these gendered identities with the aesthetics of ideational populism, the chapter demonstrates how such texts have helped shape the nature of the action cinema genre from the outset. In doing so, the chapter considers (1) how these narratives construct a duality of homogenous antagonistic groups, organised around a virtuous people and corrupt self-serving elite, thereby mirroring the fundamental conditions of populism, (2) how the super-objectives guiding the principles and actions of characters operate as gendered and thin-centred ideologies which fail to offer meaningful solutions to the wider socio-political issues encountered, and (3) how Richards, Ripley and Robocop are positioned as self-appointed demagogues, who pursue personal, rather than common, solutions and often operate without conventional societal constraints.

This chapter focuses on spy action as a way to answer the question: where can we find queer female action heroes? The chapter will identify three films – D.E.B.S. (Advocate, 2005), Atomic Blonde (David Leitch, 2017) and The Spy Who Dumped Me (Susanna Fogel, 2018) – worth attention to highlight the potential and problems of the queer female hero in spy action. This chapter examines how each of these spy action films contributes to the ongoing yet uneven development of the female hero as a queer figure in post-millennial action cinema. The chapter will consider to what extent these queer female-led action films may pose a challenge to some of the dominant standards and conventions associated with the action hero, gender roles and the representation of sexuality, but also reinforce others. Some comparisons will be made to James Bond in recognition that the Bond franchise has played an important role in the spy action genre.